Preface: If you are reading this blog article, it should be noted that it’s a continuation & supplement to episode 3 of our recent HORROR TO CULTURE podcast, devoted to THE TWILIGHT ZONE.
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“It is not a new world – it is simply an extension of what began in the old one. It has patterned itself after every dictator who has ever planted the ripping imprint of a boot on the pages of history since the beginning of time. It has refinements… technological advances… and a more sophisticated approach to the destruction of human freedom. But like everyone of the super-states that preceded it – it has one iron rule: logic is an enemy and truth is a menace.”
Rod Serling – The Obsolete Man (1961)
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The legacy of THE TWILIGHT ZONE has only expanded since the first episode was broadcast in 1959, with the series becoming a cultural touchstone over the past sixty five years. Still as timely and relevant today as it was during its initial run, the ZONE has been in constant syndication for several decades, with many reboots and relaunches along the way certifying it as a “franchise property”. The reboots had varying levels of success but always managed to at least, bare minimum, briefly carry the torch as the series tried to find its footing and voice without its creator.
There’s no replacing Rod Serling, the man is almost mythical, yet in the 1980’s we had a new boom of creativity and reimagining with Twilight Zone: The Movie (1983), Twilight Zone: The Series (1985 – 1989), and The Twilight Zone Magazine which was published in a lengthy run between 1981 – 1989, featuring the works of such well established writers as Harlan Ellison, Stephen King, Peter Straub and Robert McCammon. It wasn’t the same or nearly as poignant, but the 80’s were a good time to be a fan.
The ZONE took a hiatus in the 90’s but returned, this time hosted by actor Forest Whitaker, in the 2002 relaunch series. While the new version of TZ only ran for one season, it boasted a whopping 43 episodes. At the same time, from 2002 – 2012 there was the nationally syndicated Twilight Zone radio dramas hosted by Stacy Keach, which gets to claim the title of the longest running iteration with 176 episodes. The radio dramas included many notable actors and most of the episodes are available (cheaply) on Audible for any interested parties out there today.
Countless books, comic books, toys, bobbleheads, lunchboxes and collectibles have been devoted to the series over the years, making it an epic force of pop culture fandom, as well as a beacon for writers of social commentary, satire, science fiction and horror. The comic book version of the series ran from 1961 – 1982, published through Dell, Gold Key, and Whitman for a total of 92 issues. Chances are, if you ask anyone on planet Earth (and maybe even Mars) if they know what The Twilight Zone is, or have a favorite episode, they’ll be able to provide an answer. It is firmly in the cultural vocabulary of our mass psyche, and I wouldn’t even attempt take a guess as to how many internet memes have been created based on ZONE episodes.
Most recently we had yet another reboot which ran for two seasons and 20 episodes (2019 - 2020) hosted by Academy Award winning actor/writer/director Jordan Peele. Before we move any further here, let me say that I’ve appreciated Jordan Peele since his days on MAD TV, and think that Key & Peele (2012 – 2015) will go down as one of the best sketch comedy shows of all time (despite its excessive politics). As a comedic actor and writer, Peele is rather hilarious, brilliant and likable.
In a turn of events that I don’t think anyone saw coming, Peele became an Oscar winner after his directorial debut film GET OUT (2017) garnered critical acclaim, instantaneously catapulting him to A-list status and heralded as a new “Master of Horror”. Was GET OUT Oscar worthy? That is debatable, as is the “Master of Horror” classification, yet it was no doubt a very solid psychological horror film deserving of praise and accolades with an inventive and fresh take on the classic “pod people” scenario. It’s a very unique examination of cultural identity with creative usage of “folk horror” elements.
Next up we had Us (2019), NOPE (2022), and a writer/producer credit on the CANDYMAN (2021) reboot. While none of these films had the success of GET OUT, they all helped to build Peele’s reputation as a filmmaker and up-and-coming voice in the genre of horror and science fiction. All that being said, there are those who think his fore into horror cinema is pretentious and overrated, and that his involvement with the TWILIGHT ZONE reboot of 2019-2020 was highly disappointing.
I will not use this as an opportunity to speak on Peele as a filmmaker (though I find his work to be hit or miss), but to reflect upon the latest iteration of the TWILIGHT ZONE. When I first got the news that Peele was taking over the reigns of this classic television program (not to mention my favorite television series of all time) my skepticism level was on high alert to say the least. Don’t get me wrong, I WANTED it to work and be great, but never got my hopes up that it would live up to the original series, or to its own heavily promoted hype.
The latest version of ZONE had so much going for it; high production values, notable guest stars, and an aesthetic that stayed true to the opening and closing credits of the original series. You had the option to view the series in black and white, which is good because I might otherwise not have gotten past the first few episodes. We even got a pretty cool meta episode for the season 1 finale that featured an appearance from a computer generated Rod Serling, revealing that he was the “BlurryMan” who had appeared in the background of all the previous episodes of the season. It was an inventive nod to the origins of the franchise, and an encouraging sign of things to come.
However, despite all the hype and clever tricks, not to mention an Academy Award winner now at the helm, the 2020 version never managed to capture much of the spark and subtle magic of the original series, often feeling forced and heavy handed with an agenda of “woke” social commentary. The ending of some of the episodes were rather perplexing and akin to spaghetti being thrown at a wall, while the 50+ minute format didn’t do the series any favors (nor the fact that it was only available by streaming subscription). No amount of aesthetic or tonal gimmicks could save this series from cancellation, and after only 20 episodes the series was unceremoniously pulled, with little or no online fan campaigns and petitions to keep it going (ouch).
Unfortunately, despite its best efforts, the damage had already been done. Rod Serling had been resurrected from the grave (via questionable CGI) to give his blessings to the series. They managed to make it “feel” like the ZONE with bookend narration and credit scenes, even offering the audience the ability to watch it in old school black and white. However, many of the episodes are forgettable, and it became a chore to simply watch in the nostalgic hope that it would eventually get better. One can’t help but to feel that Peele’s version somehow both paid respect to the franchise, while also tarnishing it.
It will take some time for the franchise to again find its voice and figure out what it’s going to be moving forward. It took a big swing and Cayce was at bat, but the shoes were too big to fill and it’s difficult to really elevate the game to another level when you already have successful and provocative shows like BLACK MIRROR out there. Yet, it did introduce several elements, as a spiritual successor, that hard core fans would probably like to see if another TZ television series is ever developed at some point in the future. Standing on its own merit, Rod Serling’s legacy will live on another 65 years, and well into the 21st Century regardless of all the other pop culture adornments and adorations.
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Michael A. Dyer is the host of the HORROR TO CULTURE podcast and website.
